ALEXANDER SKUNDER BOGHOSSIAN | Harvest Scrolls

Margaret Porter Troupe Arts Projects, New York City
Collection of Terry McMillan

Howard University, College of Fine Arts, Gallery of Art, Phenomenal objects: the work of Skunder Boghossian, Washington, D.C., 17 January 1989-10 February 1989

This work is framed. The work has not been examined outside of its frame. On close inspection, there is a light layer of surface dust and minor accretions in places. There appear to be areas of light brown residue along the framing edges of the work, only visible upon very close inspection. These areas are very small and dispersed. Very minor wear to corners and very minor associated loss to lower left corner. Minor scratches and minor nicks in places. Inspection under UV light reveals no sign of restoration of repair. Overall, the work appears to be in very good condition. Further Enquiries: Please telephone the department on +44 (0)207 293 6323 if you have any questions regarding the present work.
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In 1980, Alexander Skunder Boghossian, developed a firm fascination with porous surfaces and once said to Thomas Porter, African-American jazz scholar, ‘I like porous surfaces, especially things that remain in sands…things that witness their time.’ Skunder used illuminated parchment scrolls made by Ethiopian debteras (a religious figure in the Ethiopian and Eritrean Orthodox Tewahedo Churches) as a principle inspiration for his painting, fascinated by their ethereal qualities. Skunder indicates that the interlocking and weaving, indicative of Ethiopian illuminated manuscripts, is called kulflfu and the technique is portrayed in his work to create a rich and textured surface. Skunder’s kulflfu composition in Harvest Scrolls manifests itself in the complex yet subtle shapes that make up the background. The dark shapes and blue tones highlight the vibrant patterns on the coloured hanging scrolls in the foreground. Skunder’s interest in time-worn materials is evident in the background as the forms fade between shapes, symbols and script, providing an underlying rhythm to the work.

Skunder's works give life and movement to objects that otherwise would remain static. Music, Jazz in particular, was important to Skunder’s working process. Skunder danced whilst painting. The technicolour scrolls that appear to sway, twist and fold across the suspended rods echo the happiness the artist experienced during the creative process. He creates a sense of movement and fluidity through the shape of the scrolls, leading the viewer to imagine the artist moving as he painted the work.

Scrolls proved to be a life-long interest, even obsession, for Skunder. The free and dance-like qualities of Skunder’s work demonstrates his interest in objects constructed or uncovered by the unconscious mind whilst consistently standing as an icon of Africa’s modernism and political culture.   

Harvest Scrolls bares a striking resemblance to Skunder's Spring Scrolls. Painted in the same year, Spring Scrolls is part of the Smithsonian National Museum of African Art's Collection.